In an earlier blog, I talked about offering a higher scale to your principal actors if your shooting Ultra Low Budget, as a way to entice agencies to submit more experienced actors.
Once you do this, you can turn that into a flat rate and avoid having to deal with Over Time. SAG's Ultra Low contract is for an eight hour day. If an actor works 12 hours, with their four hours of OT, they are due $175. If you offer a performer the rate of SAG Low Budget Modified ($268 a day) OT will still be calculated at 8 hours as per your SAG contract. However, you can set up your performer on a flat rate. If she is working ten days, you can negotiate with her agent to set her up on a flat rate or "guarantee payment" of $2,680 (based on $268 a day for ten days). When calculating her daily rates your Payroll company (or yourself, if you're winging it) will still calculate her salary based on SAG scale ($100 for an eight hour day), plus overtime... meaning after ten days she will probably be paid around $1,750 if she's worked ten twelve hour days. On her final day you would give her the additional guaranteed amount ($930), for the total flat rate guarantee. This way, you're following SAG's Ultra Low Budget rules, and paying your performer your agreed amount. You must be sure to state in this in your negotiation with your performer's agent however. If you tell them you are offering a guaranteed payment of $2680 based on ten days worked at $268 a day, they will understand.
Hollywood veteran Pepe Serna recently worked under a similar deal for Dave Boyle's Man From Reno, which I had the pleasure to Line Produce.
Over the past couple of months I have been closely involved in two successful Kickstarter campaigns. Recently Kickstarter has become like blood to the independent filmmaker, and knowing how to run a good campaign seems about as important to a low budget film producer as knowing how to create a budget. In fact, I have multiple other projects in the works, all of which will require some support from Kickstarter. The problem is, you don't want to become a Network Marketing guy, alienating all your friends and family by begging for their support. Then again, for most of us, when someone has a cool project, we don't mind forking up $25 or $35 to help support it.
Facing East: The first project was for development money for a film that I've had in the works for a while, Facing East. We have some talent attached and need to complete our fundraising by the end of the year or else we'll lose that talent. We needed to raise $65,000 to pay for some rewrites and to finance our fundraising.
An Honest Liar: I'm co-producing a documentary called, An Honest Liar: The Amazing Randi Story, about magician and professional skeptic James Randi. It's being directed by my long time friend Tyler Measom and Justin Weinstein. We needed to raise some Kickstarter money for post-production. As of this writing An Honest Liar still has a week to go and we're 125% funded. We were just named IndieWire's project of the month of January. An Honest Liar still has six days to go as of this moment... please make a contribution.
So, here are my thoughts:
• Kickstarter vs. Indie-Gogo: I definitely prefer Kickstarter for multiple reasons. Mainly, I like that it's all or nothing. Most people need the motivation that this provides. It helps them feel responsible for your success. It helps them participate in the goal. Facing East is also set up on Fractured Atlas, which is another great option. You need to be able to be not-for-profit in some way, but those who contribute gets a full tax deduction of their donation. Because there's no deadline, however, it's hard to motivate people the way Kickstarter does.
• Your Goal: Knowing how much, or how little financing to ask for is critical, but also should really be based on what you realistically need. For Facing East we asked for $65,000, because it's what we needed, and it was a risky amount. While we felt fairly certain we could hit that mark, we only did thanks to the generosity of three amazing individuals who each contributed $10,000. If it weren't for them, we wouldn't have come close. As for An Honest Liar, $150,000 seemed like a huge amount, but we tore through that amount in under two weeks. If you reach your goal, the momentum dies pretty quickly. We could really use a lot more than $150k, so maybe we should've asked for 250k in the first place... but it's hard to know if such a high number is just a pipe-dream. Above everything, you HAVE to reach your goal! If you don't it would be hard to fund your project beyond a failed Kickstarter except with your own money.
• The Hook: What makes people want to support your movie, is the same thing that will make audiences want to see your movie (and Buyers want to buy your movie). If it doesn't have a hook, or some kind of crowd appeal, you should rethink your project... or be sure to set your goal low enough that it can be reached without going viral beyond your family and friends.
Facing East is based on a well loved play by Carol Lynn Pearson that deals with Mormons and Gays. It's a very powerful play, and has special appeal to anyone who is or has gay loved ones who have had to come out in religious homes. Consequently there was a huge following of the play, and of the film in its development state. We were able to tap into that market, and several organizations (Affirmation: Gay and Lesbian Mormons and Mormons Building Bridges) supported it. Our director is also a popular Broadway actor with a devoted following, so it also went viral among the New York theater crowd.
An Honest Liar has a huge following due to James Randi's devoted following. Tapping into his various niche groups was fairly easy. He has a huge following in the Skeptic and magic crowds, plus he has followings in the gay community. We were also publicly supported by such luminaries as Alice Cooper and Mythbuster Adam Savage, who signed things to give away as rewards and made short pitches for the campaign.
• Unique Rewards: Both our campaigns had some unique rewards. Because both had people involved with their own fan bases we catered to them. An Honest Liar is giving out books and rare vintage posters signed by James Randi, as well as things like an Alice Cooper DVD signed by both Alice and Randi. With Facing East we took advantage of our director Will Swenson's Broadway celebrity status. For $5,000 Will would serenade you publicly (you pick the song, he picks the venue), and for $3,000 Will's wife, Tony winner Audra McDonald, would call you on your birthday and sing Happy Birthday to you. No one sponsered at this level, BUT all of our publicity and press led with it. They were great rewards to talk and write about. Headlines would read: Want to have 5 time Tony winner Audra McDonald sing to you? So that worked out to be great publicity, with no commitment afterward.
We also printed up T-Shirts for Facing East which were popular. After they were printed my fellow producer, Emily Pearson, and I posed in them and the photo went semi-viral. I'm pretty sure we'll be able to sell them on our website for added benefit.
The best reward were amazing leather and wooden beverage coasters that An Honest Liar director Justin Weinstein made. As he was describing them I was very dubious, but once I saw them I was converted. People have gone significantly gaga over them.
The important thing is to not offer too much at low reward levels that need mailing. For Facing East we considered doing one of those rubber bracelet things at the $10 level, but it would've required mailing out over 300 of them... and for An Honest Liar we considered a button, but we currently have 2,500 supporters, and counting.
The best rewards you can give are digital downloads of the film. They essentially cost you nothing (apart from having a digital version and a location to post where people can download from) and they're more popular than DVDs normally anyway.
• Graphic Design: It's important that it looks good. I spent a lot of time to make Facing East look good, but then Justin, whose graphic design skills far outweigh my own, hit it out of the park with the An Honest Liar page. Spend a lot of time looking at other Kickstarter pages, and plagiarize from the best. (It should be noted that both of these pages were inspired by The National Film Society's great graphics of the campaign for their Awesome Asian Bad Guys campaign). • Publicity: We were blessed with great publicity. For Facing East my normal publicist sent out a press release I did for free. If you don't have a friend who's in the publicity business you'll have to pay for it. For An Honest Liar Tyler and Justin hired an awesome company called Film Presence, who seem to have really helped to elevate the status of the campaign. They've worked as a sort of all in one, spreading word through Facebook, Twitter, etc. and consulting on the Kickstarter campaigne and spreading the word.
I didn't know that IndieWire's Project of the Day was something you could nominate yourself for (If you're chosen as Project of the Day, then you can be voted as Project of the Week, then Project of the Month). If I did I would've done it for Facing East. That's what a group like Film Presence can get for you. Follow this LINK to submit your own project.
• Updates: Definitely follow Kickstarter's suggestion to make updates for your supporters. Make them engaging and interesting. I have supported several different campaigns, and I admit, I don't always read the updates that are sent to me, but I think most do.
• Video: Kickstarter stresses the importance of your video. They suggest you keep it short, like around three minutes. Both of the videos I used are longer. I think our Facing East video is a bit too boring. Not fast paced enough. But it's sincere. I really like what Tyler and Justin did with theirs. Both of the videos highlighted the various "Name Players" involved in the project. The important thing is to not look like a chump, someone who feels like he/she deserves the support. It's important to be humble. Since we're talking about making movies, it's also important to look like you know how to make a movie. Having a good sense of humor is important too. Our Facing East video was watched all the way through only about 32% of the time, An Honest Liar video was watched about 45% even though it's longer. I don't know what that proves, but those are the stats.
• A Few Final Issues: Make sure your Kickstarter account is set to your business account. I set up Facing East with my personal account because I didn't have our business account information (not thinking anything of it). After our successful campaign I transferred all the funds to our business account, but I received a 1099 tax document to myself for $70,000. Now my accountant is going to have to jump through some hoops to make that not look like personal income.
Remember that Kickstarter and Amazon (which handles the money transfer through Amazon Payments) both take a percentage. I think it adds up to about 8%. Also remember that some people will sign up to support you, then once you finish the campaign, the charge won't go through... they may have entered an old credit card number, or they can even cancel the charge. We lost about ten out of 350 contributions for Facing East, which equalled about $200.
Conclusion: I believe Kickstarter will continue to be a necessary tool for independent filmmakers for a long time to come. For one of my past films, Daylight Savings, we used Kickstarter as the initial release of the film. We funded a national tour through the platform distributing the film exclusively to those who supported the campaign. This unique approach is an example of the creative approaches to Kickstarter that people can make that will allow projects to rise above the others. Director Dave Boyle and Daylight Savings was featured significantly in an article in the print version of Filmmaker Magazine because of this original distribution model.
Goh Nakamura and Yea-Ming Chen in Dave Boyle's Daylight Savings
I encourage you to extend the creativity and need for expression that got you into film in the first place to your next Kickstarter campaign.
It was my pleasure to catch the charming film Hank & Asha at this years Slamdance festival. I saw several films, all of which could be considered great examples of micro-budget filmmaking, but Hank & Asha was by far my favorite. And for once in my life, I am not alone, as I’m happy to announce that it went on to win the Audience Award at the festival.
Hank & Asha is a simple story about two lonely people, one a student far from home in Prague, and one an aspiring filmmaker, far from home in New York. Through video chats the two meet and fall in love. It sort of has a similar plot to Lost in Translation, which I personally didn't enjoy much. I think Lost in Translation was less about lonely people, and more about bored people, and I don’t think bored people make good subjects for movies.
The entire story of Hank and Asha is told through their video messages. While this format could quickly become tedious, in the able hands of first time writer/director/producer James E. Duff it soars with personality, charm, and an innocence that I find lacking in most independent films.
Director James E. Duff directs Andrew Pastides (Hank)
Reading the brief synopsis in the program, I went in wondering if it would be just shot by the two lead actors, with just source light, etc. Happily it was a well-shot, well directed movie. Because the two protagonists are a filmmaker and a film student it’s plausible that their video messages are more than just chats. In fact, the film is one of the better looking that I’ve seen shot on the 5D, so a big shout-out to DP Bianca Butti.
The biggest compliment I can ever give a film is that I’m jealous of it. I was definitely jealous of Hank & Asha. Jealous if the idea, of the skill displayed by its creators, and jealous of how much fun it seemed to make.
I was fortunate enough to sit down with James and his wife/co-writer/editor/producer, Julia Morrison, for a few seconds in Park City to get some of the details.
James and Julia said that they wanted to make a movie that was personal and true to who they were. That said, they don’t seem to be cynical folks, but seem to be a genuinely happy couple with a positive outlook on life. Though the film isn’t autobiographical, it has autobiographical elements (Asha is a student at the Prague school where James and Julia taught for two years). The film that people seem to be comparing it to is Once, which James admits he saw four times in the theater.
The film was shot over twenty-one days: ten in Prague, followed by eleven in New York. Their DP, Bianca, came with them to Prague, but other than that, they had a Prague crew and a New York crew.
That crew consisted of some co-producers, their DP, an assistant camera person/gaffer, a single person art crew and a mixer. Julia said her one regret was not having a location manager. This is a role that is so frequently overlooked. As a former location manager I am always cutting that line item thinking I’m going to save money if I do it myself. I vow to the world, right here and now, that I will never do it again. You want a location manager. You NEED a location manager. There’s so much you as a producer have to focus on, without worrying about the location, or staying behind to clean the toilet.
Their locations were mostly friends’ places, restaurants and bars where friends worked, etc. But both New York, and especially Prague, are shown off and exploited for all their gorgeous effect.
The lovely and talented Mahira Kakkar (Asha)
Holding the film together was the stellar cast of Andrew Pastides and Mahira Kakkar. This is a movie that is made of almost entirely of close ups on these two actors, so their performances are critical. James and Julia said that if they couldn’t cast it right, they wouldn’t do it. They were fortunate to know casting directors Elissa Myers and Paul Fouquet, who hit it out of the park. My hat is off to these two amazing actors who I’m sure will resurface in other things soon, and who I would cast at the drop of a hat (the hat I already have off, in fact).
So the takeaway: Make a movie that reflects your heart. Don’t worry about following the latest trend or worrying about what people want to see or what festivals want to program. Make it personal, and hopefully that personality and passion will reflect on the screen. James and Julia’s personality is one I’d be happy to return to again and again.
I will be giving a full account of my experience raising over $70,000 via Kickstarter later. I promised a blow by blow, and I intend to keep the promise... but it's a longer post and requires the one thing I don't have much of: TIME.
In the meantime, another project of mine has launched its own Kickstarter. I know, crazy right? AN HONEST LIAR is in post-production and we are hoping to raise $148,000 to get us through. We'll see what happens.
I very sadly pass my well wishes and sympathy to all the family and friends of the extremely talented David Fetzer who passed away at his parents home last night of unknown causes. David was the star of a great little film called Must Come Down that I had the priveledge to line produce. He was very talented, a genuinely good soul, and someone who left us far too early. My last little bit of conversation with him was when I was trying to find an actor to help out a student friend of mine for a project... even though it was a student film, and no pay, he was happy to do it, just to hang out and help out. Just a great guy who will be deeply missed.
So, I recently launched a project on Kickstarter. While I have had multiple projects get some funding via Kickstarter, I have never run my own campaign. Fortunately I was able to learn as I watched many friends run successful campaigns and was able to plan a strategy by watching them.
I plan on spending a lot of time evaluating the success (or lack there of) of my campaign once it's over... but now I'm way to stressed out and consumed with the slow creep toward our goal.
For two weeks I have been pleading with everyone I know to share our page with everyone on their blogs... without doing it myself (shameful).
So please, PLEASE, help us out by supporting our Kickstarter campaign for our feature film FACING EAST. If we haven't raised $65,000 by December 14th, we don't get any of the money currently pledged. For a pledge of just $35 you get the DVD long before it will be available in retail, plus there's lots of other great rewards.
SAG Ultra Low rates are $100 a day. There are, however, some hidden costs. The most notable being that technically that is for an 8 hour day. The final four hours of a standard 12 hour day are calculated at time and a half, which means $175 for a day. SAG also expects you to be fully payrolled. Meaning they expect you to pay for Unemployment Insurance and taxes etc. When you're shooting for only 25,000 these are significant additions. My go-to accounting guys charge a minimum of $700 for payroll services for a feature. That said, I don't know what the understanding at SAG is, but I've made several ULB shows that did $100 for a 12 hour day without doing payroll expenses. I think for the smaller films SAG often looks the other way, and figure that as long as none of the actors are complaining they'll let it lie... but don't take my word for it.
